As their website says "The Globe Vintage uses a different large size dual-diaphragm capsule VD47 providing a sweet and warm, vintage vocal microphone sound." It packs a solid state preamplifier Class 'A' fully discrete transformerless circuit.
Actually I don't like "warm" as a term for describing sounds because it doesn't really give an idea..so when you first test this mic with your own voice you'll probably think.. "WOW!!!" heh
Another thing that you''ll immediately notice is how beautiful this mic visually is..even if we're here for its sound, it really pleases the eyes too and the clients are usually impressed with it (both visually and, after hearing themselves through it, also sonically of course).

As every other mic from Violet (that I saw or owned) it's incredibly well made, with attention to the detail for both the grille mesh and the body finish, it has a retro and unique look and the materials used are absolutely high quality..as I said in my review of the Amethyst Vintage (Violet Design The Amethyst Vintage) it looks like it was built in another era, with the craftmanship of the good old days, where quality was the priority. It's not an OEM body/capsule mic made in large quantity..it's really manufactured with care in Europe..you could feel it when these gems are in your hands.

The shockmount provided is very effective and let you place the microphone very close to the source you want to record (if it needs to)..it's not in the way as the traditional spider shockmounts, and as a plus there are 2 internal shockmounts, one for the head/capsule and one for the electronics, in order to reduce the rumble, I didn't experience any rumble or noise btw..so I'd say that these measures are effective. The wooden box is very nice and not an el-cheapo metal case, it's very classy. Three screws secure the capsule during the transportation (as it is for the Amethyst), you could simply unscrew them with your fingers and start the session.

THE SOUND:

It doesn't have any tubes or transformers (which might be responsible for that famous "warmth" in other designs) but you'll double check to be sure you're listening to a transformerless solid state mic.. and I'm a huge fan of transformers (and tube) based mic/audio designs, but this mic is simply incredible..it's like listening to an old vintage german tube mic and it also has incredible low noise specs...I was kinda shocked!

It's a rather "dark" condenser (for lack of better words), but in a very natural way.. the lows are very well balanced, NOT wooly or muddy by any means, but intense and soft at the same time, the top end is very sweet..velvety..creamy.. overall it's rather thick sounding..
I could describe it as a ribbon-ish condenser if that makes any sense, that takes the best of both worlds. NONE of the shrillingness (neither harshness/hardness of course) typical of some condensers mics is present here, even if the detail is still there..

It doesn't have a pad nor an hpf, I guess for two reasons, keeping the audio path as "clean" as possible and for containing the costs. But IMO and IME it's not a big deal, I never felt the need for either during tracking, if/when I need some eq I do it with the EQ or during mixing with an hpf.. I think this is a smart way of saving money for both the manufacturer and the end user.
The "9" in the features is only because has a fixed cardioid pattern, but again probably for designs or costs reasons they decided to do it cardioid only.. I'm going to use it that way most of the time anyway..not so important, at least for me.

IN THE REAL WORLD:

I recently recorded both male and female vocals with it through an Avedis MA5 preamp (Avedis Audio MA5) and an Avedis E27 EQ.. it was the first time that I pushed the 28k button on the MA5 (with a condenser mic on male vocals).. for the male vocals I used the E27 for cutting some nasality and controlling a bit the 28k boost, cutting some 20k in shelving mode..(a kind of pultec-ish trick).
The female vocals were backing vocals so I boosted some more highs to have some nice, sweet sparkling air shining through the mix...
Simply wonderful!!Again...wow..!! heh

I can't reccomend this mic enough for ANY studio.. if you have a small home recording setup this mic will be your top of the line do-it-all condenser and for any pro studios out there, this is the perfect tool for some specific sources (like sibilant vocals or thin sounding sources or act as "U47fet" outside the kick without spending too much) or a great allrounder where you don't have to worry about damaging it .. not that you could throw around an almost 2k$ mic as if it were a 57, but you'll be less worried than putting out your beloved M49 or U47 on some sources sometimes...you get my point..

Please do you a favor, ask your dealer and try this mic out in your place.. trust your ears, not my words!.. Even if I'm pretty sure that you'll not want to give back this mic after you've tried it.. yes, it's that good..

This brand is not so well known/common as others and I honestly don't understand why, these are really unspoken gems that every engineer should, at least, try out IMO.
Under the 2000$ mark (I think in the US it's about 1700$) is THE BEST condenser mic I've ever heard..period.. And again it's defintely worth more than its asking price, as with other Violet Design products.
Hats off..

Also for this mic there's a Standard version (which I don't own but I've tested out quickly), which is basically the same mic with a different capsule. Compared to the Globe Vintage, the Standard version is brighter and somewhat more "modern" sounding...maybe a sort of mix between an Amethyst Vintage and The Globe Vintage..it has the openness of the Amethyst with the character/mojo of the Globe.. hard to describe..

This is a Class A transformerless design with Violet Designs VD47 capsule. It has a stylish compact look that should be displayed in an art museum. I heard the Globe Vintage against some other 47 type microphones both tube and fet. We tried it on bass drum and bass cabinet. You hear the note of the bass drum with this mic unlike the others we listened to. Like all Violet Design mics I've purchased- it has a three dimensional sound to it. I also dig it for female vocals I would normally reduce the feature rating to a #4 since there is no pad on the mic. My Avedis MA5's start at 15db of gain so I didn't need an inline pad. If you want a globe with a pad you can check out the global pre with a VIN47 capsule. It has a -14 db pad to cover your needs.

These are really great mics. Every time I use one, I think it is the better of the two, but then I try the other one... and I change my mind again.

A Few Details

I own a pair of Globe Vintage and a pair of Globe Standard. (I also own a single Amethyst Vintage and a single Grand Pearl by Violet.) I am in full agreement with the above reviewers: these top-of-the-line Violet mics really are outstanding.

The Vintage seems to get more attention here in GS, and yes, it is indeed a fine mic, with a slightly dark, fulsome attitude. As many others have noted, it is not really 'vintage' but it is definitely darker, though still with a fast modern transient response, and is exceptionally quiet (like the Standard). It is what I imagine a 47 might sound like if it were conceived in more recent times. I have used it recently on tenor sax and bass clarinet to good rich effect. The sax player also doubled on flute, and it was great on that too. For the tenor sax, I cut lows below 120 and raised 1.5k just 1 db, and that was it! Beautiful rich tones with a touch of breathiness --too easy.

The Standard is to my ears flat and accurate, while still being flattering. Like the Vintage, it is also modern sounding, and here the transients just seem to sparkle. Amazing... I recently used the pair as room mics (ORTF), and they captured the room wonderfully, while somehow magically avoiding some of the harshness around 3k that was actually in the room. I EQ'ed only to fit the mix, not because they needed anything in particular.

I think if I had to choose a pair of desert island mics, the Globe Standards would be them.

(Until I listen to the Vintage again...)

Some other commentators have pointed out that the Globe Standard and Amethyst Vintage share the same capsule. One might be forgiven for thinking that they would sound alike, but to my ears they are pretty different. These hi-end Violets are all wonderfully '3D' sounding, and subtly flattering, but the Amethyst has a particular 'attitude' about it. Mellow, while at the same time forward. Both Globe models really blend in nicely when you want them to. I find the Amethyst Vintage, on the other hand, more of a 'solo' / 'lead' mic, suited for lead instruments and vox that need to stand out a bit in the mix --but not too much.

In my home studio, I run the Globes usually thru my Daking Mic-Pre II. They seem to be made for each other. I note that in the review above, Cheu78 used an Avedis MA5. So, I tried this as well, and they also sounded good, but more alike one another than when using the Daking. I tried the enigmatic 28k boost and found that I liked it on the Standard, but not much on the Vintage --the opposite from what you might expect, perhaps. For location gigs, which I do a lot, I use a Sound Devices 688 and 552 (linked) and as you might expect, the mics sound great through those preamps too. These mics seem to like 'clean' preamps. (I imagine they would sound great thru a Grace Designs, but I have yet to try that.)

>>Update: I did try them thru a Grace M101, and they shone... (gotto love that pre!)<<

The Scores

5/5 for sound. These are the best sounding condensers that I own or have had the pleasure to use. In order to save money and learn a bit, I spent years modifying mics and so forth... In the end, I had created what I thought were pretty darn good mics... until the Violets came along. My other LDCs now sit neglected in the cupboard.

5/5 for ease of use, mainly because of the built-in shock mounting system that means you can avoid expensive holders. Also, these things are very solidly built.

3/5 for features because there are not the usual pad, roll-off, or pattern switches. I personally do not miss them, and find that many mic hi-pass filters mess with phase anyway, but I know other people like them. In my view, the fewer switches in the circuitry, the better.

I assigned 5/5 for value because these mics have started to go on sale, offering huge reductions. There is a new summer sale right now, in fact, 60% off, which is what prompted me to write this review. Honestly, for these sale prices, I doubt very much that any other mic on the planet can match them.

[Disclaimer: I have no affiliation with Violet mics or any of their related companies. My only contact with them has been thru emails with their sales rep, while purchasing.]